SYNOPSIS:  Security proves to be "the other woman" in the tragic triangle that breaks up Ed Straker's marriage.

      The birth of twins to a S.H.A.D.O. Operative's wife brings back very sad memories for Commander Ed Straker. He remembers the day, early in the 1970's, when he was still in the USAF: a Colonel in Military Intelligence, marrying the lovely young English girl, Mary. Life was good; the future promising.

      Bitterly, he recalls the first day of their honeymoon and can see Mary and himself waiting at the airport for the plane that will take them to Athens, Greece. Then an urgent message for him, he is to report immediately to General Henderson, who is still in hospital after a UFO attack on his car. A UN meeting is to be held immediately to consider setting up a defence organisation to protect Earth from potential danger from outer space. The man chosen to command the organisation, S.H.A.D.O. is Ed Straker. From that moment, his marriage is threatened. As the organisation takes shape and its headquarters are being built and personnel recruited, there is little time for home life: and he daren't tell Mary why.

      Mary becomes more and more worried, and then suspicious. And, just before her baby is due, she learns that he has been seen leaving a girl's flat late at night. He cannot tell her that the girl is a member of S.H.A.D.O., and that the meeting has been a vitally important one. In the confrontation, Mary falls and her life is in danger as the baby son is born. She wants to live only for the baby . . .  Ed has no part in her future . . .

THE SCRIPT FOR THE UFO EPISODE
"CONFETTI-CHECK A-O.K."

by

Tony Barwick

© Century 21 Pictures
Stirling Road, Slough,
Buckinghamshire,
SL1 4ST, UK.

"CONFETTI CHECK A-O.K."

This copy of the "CONFETTI CHECK A-O.K." script is largely the same as the final broadcast episode, with the following exceptions:-  

SCENE 5 - There is more smalltalk during the wedding reception.

SCENE 17 - Henderson has more dialog in his brief prior to Straker's meeting at the U.N.

SCENE 23 - The U.N. delegates talk amongst themselves prior to Straker's entrance.

SCENE 28 - Straker initially refuses the job of SHADO commander!

SCENE 35 - A 77-second scene which was supposedly filmed but didn't make it into the final episode, showing Straker and Freeman recruiting Keith Ford and Nina Barry during the filming of a television program on UFO's.

SCENE 43 - Freeman reveals that the Rolls Royce driver from IDENTIFIED was killed by SHADO security!

SCENE 66 - More dialog in Nina's apartment.

CAST LIST:
SPEAKING PARTS:
FREEMAN
OPERATIVE
STRAKER
MOTHER
OFFICER
MARY
CLERK
PORTER
MAN (L.A.P.)
HENDERSON
C.I.A. MAN
FRENCH DELEGATE
U.S. DELEGATE
CHAIRMAN (ENGLISH DELEGATE)
GERMAN DELEGATE
AGENT
SECRETARY
FORD
LLOYD
NINA
MAXWELL
MASTERS
FATHER
DOCTOR
NURSE

SET LIST:
INT. CORRIDOR (STUDIO)
INT. UNDERGROUND CONTROL (STUDIO)
INT. STRAKER'S OFFICE (STUDIO)
INT. WEDDING RECEPTION (STUDIO)
EXT. ROAD(LOCATION)
INT. CAR (STUDIO)
EXT. ROAD LAY-BY (LOCATION)
INT. RECEPTION MOTEL (STUDIO)
INT. ROOM (STUDIO)
INT. L.A.P.(LOCATION)
INT. HOSPITAL (STUDIO)
INT. WAITING AREA (STUDIO)
INT. CONFERENCE ROOM (STUDIO)
INT. SECURITY CHECK (STUDIO)
EXT. HOUSE (LOCATION)
INT. HOUSE (STUDIO)
INT. HENDERSON'S OFFICE (STUDIO)
INT. TV STUDIO (STUDIO)
INT. LOUNGE.NIGHT. (STUDIO)
INT. MISS EALAND'S OFFICE (STUDIO)
INT. INNER OFFICE (STUDIO)
INT. HALL (STUDIO)
EXT. STUDIO LOT (LOCATION)
EXT. STREET (LOCATION)
EXT. SECOND CAR (STUDIO)
INT. NINA'S APARTMENT
INT. AMBULANCE STUDIO)
INT. HOSPITAL (STUDIO)
INT. INTENSIVE CARE UNIT (STUDIO)
INT. HOSPITAL ROOM (STUDIO)

1 EXT. HARLINGTON-STRAKER STUDIO. DAY. (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

2 INT. UNDERGROUND CORRIDOR. (STUDIO) 5 SECS

STRAKER WALKS ALONG THE CORRIDOR TOWARDS THE CONTROL ROOM.

CUT TO:

3 INT. UNDERGROUND CONTROL {STUDIO) 40 SECS

FREEMAN STANDS NEAR ONE OF THE OPERATIVES WHO IS OFFERING HIM A CHURCHILLIAN CIGAR FROM A BOX. IN THE BACKGROUND WE SEE THAT SEVERAL OF THE OTHER MALE OPERATORS ARE SMOKING CIGARS.

THE BACKGROUND TO THE SITUATION IS THAT THE OPERATIVE'S WIFE HAS JUST HAD A SON AFTER SEVERAL YEARS OF MARRIAGE.

FREEMAN TAKES A CIGAR

FREEMAN
Congratulations.

THE OPERATIVE GIVES FREEMAN A LIGHT.

FREEMAN
Decided on a name yet?

OPERATIVE
We're still working on it.

ANOTHER ANGLE

STRAKER COMES IN THROUGH THE DOORWAY AND WALKS ACROSS THE CONTROL ROOM TOWARDS HIS OFFICE. THE OPERATIVE SEES HIM AND BEFORE FREEMAN CAN STOP HIM, MOVES OFF TOWARDS STRAKER.

OPERATIVE
Commander Straker.

ON FREEMAN

WISHING HE HAD STOPPED THE OPERATIVE, KNOWING THE MEMORIES THAT COULD FLOOD BACK INTO STRAKER'S MIND.

TWO SHOT

FROM FREEMAN'S POV.

OPERATIVE
Have a cigar, sir.

THE OPERATIVE COMES UP TO STRAKER AND OFFERS HIM A CIGAR. STRAKER GLANCES AROUND, SMILES A TIGHT SMILE AND TAKES ONE.

THE OPERATIVE SAYS A FEW UNHEARD WORDS TO STRAKER THEN GLANCES BACK TOWARDS FREEMAN.

ON FREEMAN

HE GIVES THE FAINTEST SHAKE OF THE HEAD - "NO".

TWO SHOT

THE OPERATIVE GETS THE MESSAGE AND LEAVES STRAKER. STRAKER MOVES ON TOWARDS HIS OFFICE.

ON FREEMAN

HE WATCHES STRAKER, THEN MOVES TO FOLLOW HIM.

CUT TO:

4 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO). 14 SECS

STRAKER COMES IN, STANDS WITH HIS BACK TO THE OPEN DOORWAY, HEAD A LITTLE BOWED IN THOUGHT.

FREEMAN COMES TO THE DOORWAY, HESITATES A MOMENT, THEN ENTERS.

HE WALKS TO THE DESK AND PICKS UP THE LIGHTER. STRAKER GLANCES SIDEWAYS AT HIM.

ANOTHER ANGLE

THE TWO MEN TURN TO FACE EACH OTHER, BOTH KNOWING THE OTHER'S THOUGHTS, BOTH REMEMBERING.

STRAKER PUTS THE CIGAR IN HIS MOUTH, FREEMAN LIGHTS THE LIGHTER.

CUT TO:

5 INT. RECEPTION. DAY. (STUDIO) 102 SECS

CLOSE ON CIGAR

ANOTHER CIGAR, ANOTHER PLACE, ANOTHER TIME.

THE CIGAR IS LIT.

PULL BACK TO SHOW FREEMAN LIGHTING IT FOR STRAKER.

WE ARE IN THE EARLY 1970's. IT IS STRAKER'S WEDDING RECEPTION. HE IS DRESSED IN USAF UNIFORM. JUST A FEW GUESTS - ANOTHER USAF OFFICER THE BRIDE'S MOTHER AND FATHER, RUTLAND, FOUR OR FIVE OTHER COUPLES, MAYBE A YOUNGER SISTER. FREEMAN IS BEST MAN. A BABBLE OF CONVERSATION, A HAPPY ATMOSPHERE.

ON STRAKER

HE PULLS ON THE CIGAR, IT MAKES HIM COUGH A LITTLE. HE BEAMS AROUND, THEN WINKS ACROSS TO:

ON MARY

IN A STUNNING WEDDING DRESS. SHE CATCHES THE LOOK, SMILING QUICKLY, HER EYES SHINING. THEN SHE TURNS BACK TO CARRY ON HER CONVERSATION.

WIDER ANGLE

FREEMAN REFILLS THE GLASSES WITH CHAMPAGNE. HE COMES TO ED, WHO PUTS HIS HAND OVER HIS GLASS.

FREEMAN
Oh, come on Ed, I'm going to propose a toast.

STRAKER
What, another!

STRAKER RELENTS, FREEMAN FILLS HIS GLASS.

FREEMAN
Sure. To champagne.

FREEMAN MOVES ON THROUGH THE GENERAL LAUGHTER AND CONVERSATION.

ANOTHER ANGLE

WE FEATURE THE WEDDING CAKE. FROM SOMEWHERE IN THE GUESTS -

FREEMAN
Mary... Ed... Come and cut the cake.

FREEMAN COMES UP TO THE CAKE. THE GUESTS GATHER ROUND. STRAKER AND MARY PICK UP THE KNIFE. A COUPLE OF MOMENTS OF FUN AS STRAKER AND MARY SORT OUT THEIR FOUR HANDS ON THE KNIFE.

CS - HANDS

CLASPED ON THE KNIFE - POISED OVER THE CAKE.

MOTHER (VO)
Don't forget to wish.

TWO SHOT

CLOSE ON ED AND MARY. SILENCE. THEIR EYES HOLD FOR A SECOND.

WIDER ANGLE

THEY CUT THE CAKE. THE CHEERS AND CHATTER START UP AGAIN. MOTHER AND FREEMAN TAKE OVER CUTTING THE CAKE AND HANDING IT AROUND.

TWO SHOT

THE USAF OFFICER COMES UP TO STRAKER.

OFFICER
I've got to split, Ed. You're a lucky dog.

STRAKER
I know it. Thanks Al.

THE OFFICER LEAVES.

WIDER ANGLE

OF THE GUESTS WITH THE CAKE AND CHAMPAGNE.

ON MARY

SHE CATCHES STRAKER'S EYE ACROSS THE ROOM AND MOUTHS:

MARY
I'll go and change.

ON STRAKER

ANSWERING HER, MOUTHING THE WORDS.

STRAKER
Great. Love you.

HE PUCKERS HIS LIPS AND THROWS HER A KISS.

TWO SHOT

FREEMAN COMES UP WITH A BOTTLE OF CHAMPAGNE.

FREEMAN
I saw that. I saw that.

HE FILLS STRAKER'S GLASS.

STRAKER
Hey! What are you trying to do, Alec?

FREEMAN
One for the road.

CUT TO:

7 INT. CAR. DAY. (STUDIO) 28 SECS

MARY DRIVES. SHE HAS CHANGED, AND ALSO WEARS STRAKER'S USAF CAP. STRAKER IS MERRY WITH CHAMPAGNE.

MARY
Where to sir?

STRAKER
(mock English)
Anywhere James. Anywhere.

STRAKER STARTS TO SING RATHER BADLY BUT VERY HAPPILY. MARY SMILES.

ON MARY

SHE NOTICES THE NOISE FROM THE BACK OF THE CAR.

MARY
Is there something wrong with the car, Ed?

TWO SHOT

STRAKER
Wrong?

MARY
That noise.

STRAKER
Alec Freeman. Last of the clowns.

CUT TO:

8 EXT. ROAD. DAY. (LOCATION) 30 SECS

THE CAR PULLS UP IN A LAYBY ALONG THE COUNTRY ROAD. JUST OFF THE ROAD IS A GATE INTO A FIELD WITH A HIGH HEDGE RUNNING EITHER WAY.

CLOSER SHOT

MARY AND ED GET OUT OF THE CAR AND GO ROUND TO THE BACK. THEY LOOK DOWN TO:

POV SHOT

AN OLD BOOT TIED ONTO THE BACK OF THE CAR.

TWO SHOT

THEY LAUGH, THEIR EYES MEET. A MOMENT OF LOVE. STRAKER KISSES HER GENTLY.

ANOTHER ANGLE

STRAKER OPENS THE BOOT (TRUNK). MARY STARTS TO UNTIE THE BOOT. AS STRAKER MOVES AWAY WITH A HOLDALL.

MARY
Where are you going, darling?

STRAKER (VO)
Ha... ha...

CUT TO:

9 EXT. GATE. DAY. (LOCATION) 6 SECS

ED CLIMBS OVER THE GATE INTO THE FIELD.

MARY (VO)
(laughing)
Ed.

CUT TO:

10 EXT CAR DAY LOCATION 38 SECS

MARY UNTIES THE BOOT, LOOKS AT IT A MOMENT,

THEN PUTS IT IN THE TRUNK AND CLOSES IT.

ANOTHER ANGLE

SHE LOOKS UP AND DOWN THE ROAD, THEN WANDERS OVER TOWARDS THE GATE.

STRAKER STARTS SINGING FROM SOMEWHERE IN THE FIELD. MARY GOES AND LEANS OVER THE GATE LOOKING ALONG THE HEDGE.

MARY
(shocked)
Ed, what are you doing?
(amused)
Supposing someone comes along?

ON MARY

SHE LAUGHS, THEN REACTS. A CAR IS COMING ALONG THE ROAD.

MARY
Ed, there's a car coming... Darling...

MARY DOESN'T KNOW WHAT TO DO. SHE TRIES TO APPEAR NONCHALANT. STRAKER GOES ON SINGING.

CUT TO:

11 EXT. ROAD. DAY. (LOCATION) 20 SECS

THE CAR SLOWS DOWN AS IT PASSES MARY, BUT SPEEDS UP OFF UP THE ROAD.

ON MARY

SHE IS RELIEVED. SHE TURNS.

TWO SHOT

STRAKER STANDS ON THE OTHER SIDE OF THE GATE. HE HAS CHANGED INTO A SUIT. HE HOLDS HIS HANDS IN THE AIR.

STRAKER
New suit... new wife.

THEY HOLD HANDS OVER THE GATE.

MARY
(gentle)
New husband... new life.

THEY EMBRACE

MAIN TITLES 60 SECS

1) STRAKER'S CAR ALONG THE ROAD

2) INSIDE THE CAR STRAKER NOW DRIVES

3) ON STRAKER

4) ON MARY

5) THE CAR PULLS INTO A MOTEL

6) STRAKER AND MARY GET OUT, STRAKER COLLECTS THE LUGGAGE AND THEY GO INTO THE MOTEL.

CUT TO:

12 INT. RECEPTION. DAY. (STUDIO) 45 SECS

MARY AND STRAKER COME IN. STRAKER LOOKS HER UP AND DOWN, THEN BOWS HIS HEAD.

STRAKER
Confetti check?

MARY CHECKS HIS HAIR FOR CONFETTI.

MARY
A-OK.

ANOTHER ANGLE

STRAKER WALKS UP TO THE RECEPTIONIST. HE WOULD HATE LIKE HELL FOR THE CLERK TO KNOW THEY HAVE JUST BEEN MARRIED. MARY HANGS BACK A LITTLE.

CLERK
Hello sir.

STRAKER
Hello there. Do you have a room?

CLERK
Yes, sir.

STRAKER
(trying to throw it away)
For my wife and I.

CLERK

Yes, sir.

STRAKER
Fine. Fine... er...

HE GLANCES BACK AT MARY. SHE SMILES REASSURINGLY.

CLERK
If you will just sign the register, sir.

STRAKER
Surely.

HE SIGNS, THE CLERK SNAPS HIS FINGERS. A PORTER GRABS THE BAG AND COLLECTS THE KEY.

STRAKER
Thank you.

THE CLERK GIVES THE SMILE OF YEARS OF EXPERIENCE.

CLERK
Thank you, sir.

STRAKER AND THE PORTER MOVE OFF.

ON MAN

WE MARK THE MAN TO THE AUDIENCE AS HE WATCHES STRAKER MOVE OFF.

CUT TO:

13 INT. ROOM. NIGHT. (STUDIO) 72 SECS

STRAKER PULLS A ROBE ON. MARY IS IN THE BATHROOM, THE DOOR IS OPEN BUT WE CAN'T SEE HER.

MARY (VO)
When are you going to tell me, darling?

STRAKER
Tell you what?

MARY (VO)
The secret.

STRAKER
If I told you it wouldn't be a secret anymore.

MARY (VO)
Oh, come on, Ed. Where are we going?

ON STRAKER

HE WALKS OVER AND TAKES A COUPLE OF PLANE TICKETS FROM HIS COAT.

STRAKER
(teasing)
Well, let's see... I've got the tickets right here. But I just can't make out what it says...

TWO SHOT

MARY COMES OUT OF THE BATHROOM, GOES TO GRAB THE TICKETS. STRAKER BACKS AWAY.

STRAKER
Oh, there it is. It's London to... to... no, I just can't read it.

MARY MOVES FORWARD. STRAKER HOLDS THE TICKETS BEHIND HIS BACK. MARY LEANS AN ARM ROUND TO GET THE TICKETS. THEY ARE BOTH LAUGHING, THEN THE MOOD CHANGES.

ON STRAKER

HIS EYES SUDDENLY FULL OF LOVE

TWO SHOT

MARY - GENTLE, WARM, LOWERING HER EYES DEMURELY. STRAKER GENTLY LIFTS HER CHIN. THERE IS A KNOCK ON THE DOOR.

WIDER ANGLE

THEY RELUCTANTLY BREAK AWAY. STRAKER GOES AND OPENS THE DOOR.

STRAKER
Yes.

STRAKER REACTS, THEN STANDS ASIDE AND THE PORTER WHEELS IN A TROLLEY WITH ICE BUCKET AND CHAMPAGNE.

PORTER
Compliments of the management sir.

THE PORTER GIVES A KNOWING LOOK AND HURRIES OUT. STRAKER STANDS AMAZED - HOW DID THEY KNOW?

MARY
Confetti Check?

STRAKER
We blew it.

THEY BOTH LAUGH AND FALL INTO EACH OTHER'S ARMS.

CUT TO:

14 EXT. LONDON AIRPORT. DAY. (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

15 INT. LONDON AIRPORT. DAY. (LOCATION OR STUDIO) 84 SECS

MARY AND STRAKER STAND IN THE DEPARTURE AREA.

VOICE OVER
Will Passengers for BEA Flight number BE 250 for Athens please proceed to gate 6.

MARY
Come on, darling.

STRAKER
You knew!

MARY

I just happened to find a couple of tickets on the floor this morning.

STRAKER REMEMBERS THE NIGHT BEFORE.

STRAKER
Well, I was... preoccupied.

MARY
Mmmmm.

SHE MEANS - "I'LL SAY YOU WERE".

MAN (VO)
Colonel Straker.

ANOTHER ANGLE

THE MAN WE RECOGNISE FROM THE MOTEL HAS COME UP TO STRAKER AND MARY.

STRAKER
Yes.

MAN
Could I have a word with you please, sir?

THE MAN SHOWS STRAKER A PASS, A QUICK, WELL-PRACTICED MOVEMENT.

MAN
It is important.

THE MAN TURNS AND STARTS TO WANDER AWAY. STRAKER GLANCES AT MARY AND GIVES HER WHAT IS SUPPOSED TO BE A REASSURING SMILE, BUT IT SHOWS THIS WAS COMPLETELY UNEXPECTED. MARY SMILES BACK AND STRAKER WALKS OFF.

ON MARY

LOOKING OVER TOWARDS STRAKER, WONDERING WHAT IT IS ALL ABOUT.

POV SHOT

FROM MARY'S POV STRAKER AND THE MAN A FEW YARDS AWAY OUT OF EARSHOT. THE MAN SEEMS TO BE DOING MOST OF THE TALKING. STRAKER JUST NODS. THEN THE MAN MOVES QUICKLY AWAY. STRAKER TURNS.

TWO SHOT

STRAKER AND MARY

STRAKER
Listen, Angel... I just don't know how to tell you.

MARY
What is it, Ed?

STRAKER
(a deep sigh)
I have to go and see General Henderson... now.

MARY TAKES JUST A BEAT TO COVER HER DISAPPOINTMENT, THEN SHE SMILES.

MARY
It's alright. I understand.

STRAKER
Mary, I'm so sorry... I could...

MARY
Darling, I understand. I married a Colonel in military intelligence. It was part of your fatal attraction.

CUT TO:

16 EXT. HOSPITAL. DAY. (STOCK OR LOCATION) 5 SECS

WE ESTABLISH A HOSPITAL SET IN THE COUNTRY SOMEWHERE IN ENGLAND.

CUT TO:

17 INT. HOSPITAL. DAY. (STUDIO) 95 SECS

A PRIVATE CONVALESCENT SUITE IN THE HOSPITAL. BEAUTIFULLY APPOINTED. GENERAL HENDERSON SITS IN A WHEELCHAIR NEAR THE LARGE OPEN WINDOWS. HE WEARS DARK GLASSES TO COVER THE BURNS FROM THE CRASH. HE WORKS ON SOME PAPERS.

HENDERSON TURNS AS HE HEARS THE DOOR OPEN. STRAKER COMES IN.

HENDERSON
Colonel...

HE HOLDS OUT HIS HAND.

STRAKER
Hello, sir.

THEY SHAKE HANDS

HENDERSON
Sit down... sit down.

STRAKER SITS

HENDERSON
Listen, I'm sorry to foul you up like this.

STRAKER
It's alright.

HENDERSON
How did your wife take it?

STRAKER
She's fine.

HENDERSON
(a hint of bitterness)
That's what you need in this job, an understanding wife.

STRAKER
How are you, sir?

HENDERSON
Me, bearing up. The doctors tell me I'm lucky to be alive. I just tell them to get the hell out of it and let me work.

A PAUSE

ANOTHER ANGLE

HENDERSON
Well, let's get down to it.

HE STARTS HANDING STRAKER SOME OF THE PAPERS HE HAS BEEN WORKING ON.

HENDERSON
Apparently, I'm stuck in this chair for another couple of months. Things are happening, Ed. A lot of it's going to fall on your shoulders.

ON HENDERSON

HENDERSON

The special U.N. Committee meets the day after tomorrow. We get the go, no go decision then.

ON STRAKER

HE HAS BEEN QUICKLY CHECKING THROUGH THE PAPERS. WITHOUT LIFTING HIS EYES.

STRAKER
And you want me to be there?

TWO SHOT

HENDERSON
Who else?

IT IS A PLAIN STATEMENT OF FACT. STRAKER KNOWS THERE IS NO-ONE ELSE AS HE LOOKS AT HENDERSON.

HENDERSON
Those are the provisional estimates. The committee already have copies, but some of it may need explaining. We'll check through it together later.

STRAKER NODS.

HENDERSON
Ed, you and I more than anyone else know how important all this is. I'm relying on you, and even though they may not know it, so are a lot of other people.

ON STRAKER

ALREADY THE CONFLICT OF RESPONSIBILITY AND PRIVATE LIFE IS BUILDING UP.

STRAKER
When do I leave?

HENDERSON (VO)
Tomorrow.

18 EXT. LONDON AIRPORT. DAY. (STOCK) 5 SECS

A 707 POWERS ALONG THE RUNWAY FOR TAKE-OFF.

CUT TO:

19 INT. LONDON AIRPORT. DAY. (STUDIO OR LOCATION) 14 SECS

ON MARY

SHE GIVES A KIND OF INVOLUNTARY WAVE. SHE STANDS VERY STILL, UNHAPPY, FEELING ALONE.

VOICE OVER
(Very faint)
Will passengers for flight BE 250 for Athens please proceed to Gate 6.

THE FLIGHT SHE AND STRAKER SO NEARLY TOOK THE DAY BEFORE.

20 EXT. NEW YORK. DAY. (STOCK) 5 SECS

TO ESTABLISH

21 EXT. U.N. BUILDING. DAY. (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

22 INT. WAITING AREA. DAY. (STUDIO) 44 SECS

STRAKER COMES INTO THE WAITING AREA CARRYING A CASE. TWO MEN STAND NEAR A DOOR LEADING INTO A TOP SECURITY CONFERENCE ROOM. THEY HAVE C.I.A. WRITTEN ALL OVER THEM.

STRAKER
I'm Colonel Straker.

C.I.A. MAN
Could I see your pass?

STRAKER GIVES HIM A PASS. THE CIA MAN CHECKS IT VERY CAREFULLY AND RETURNS IT TO STRAKER.

CIA MAN
Yes, sir, we had a call from Security downstairs. If you'd like to wait here.

HE INDICATES A COUPLE OF CHAIRS.

ON STRAKER

HE GOES AND SITS IN ONE OF THE CHAIRS AT THE SIDE OF THE AREA.

ON CIA MEN

ONE LEANS ACROSS AND SAYS A FEW UNHEARD WORDS TO THE MAN WHO EXAMINED STRAKER'S PASS. HE LOOKS ACROSS AT STRAKER.

ON STRAKER

HE LOOKS BACK AT THE MEN - USED TO SECURITY ON THIS SORT OF LEVEL.

WIDER ANGLE

THE CIA MAN COMES ACROSS TO STRAKER

CIA MAN
You won't be able to take the case, sir.

STRAKER
I know the routine. How long have they been in there?

CIA MAN
Three hours. Looks like they could be another three.

CUT TO:

23 INT. CONFERENCE ROOM. DAY. (STUDIO) 36 SECS

THE UN COMMITTEE CONSISTS OF A SMALL BUT HIGH POWERED GROUP REPRESENTING THE MAJOR POWERS. IT IS CHAIRED BY AN ENGLISHMAN. THE TABLE IS COVERED WITH FILES AND DOCUMENTS.

FRENCH DELEGATE
I still consider the overall estimate to be far too high.

U.S. DELEGATE
But you're not arguing against the necessity for such an organisation.

FRENCH DELEGATE
I agree that the facts as presented are convincing enough, but we must not be panicked into making this enormous appropriation on the strength of what might be an isolated case.

U.S. DELEGATE
Isolated case. This is the one incident that can be indisputably proved, but the back-up evidence would fill this room.

THE ARGUMENT IS AS BITTER AS IT WOULD GET AT THIS LEVEL.

CHAIRMAN
Er... I think this may be an opportune time to call in Colonel Straker.

CUT TO:

24 INT. WAITING AREA. DAY. (STUDIO) 27 SECS

ONE OF THE CIA MEN ANSWERS THE WALL PHONE AS IT BUZZES. HE LISTENS A MOMENT, THEN:

CIA MAN
Yes, sir.

HE REPLACES THE PHONE AND TURNS TO STRAKER.

CIA MAN
Colonel.

ON STRAKER

HE UNDOES HIS CASE, FIRST MOVING THE CATCH TO DESTRUCT NEGATIVE, TAKES OUT A THIN PAPER FILE AND CLOSES THE CASE.

WIDER ANGLE

STRAKER CROSSES TO THE CIA MAN, OPENS THE FILE.

CLOSE SHOT

STRAKER TAKES THE PAPERS, HANDS THEM FACE DOWN TO THE CIA MAN SO THAT HE MAY NOT READ THEM.

THE CIA MAN CHECKS BY FEEL TO MAKE SURE THEY ARE PAPER AND GIVES THEM BACK.

WIDER ANGLE

THE DOOR IS OPENED BY THE CIA MAN AND STRAKER STEPS INTO A SPACE ABOUT THREE FEET WIDE BETWEEN THE OUTER AND INNER DOOR.

CUT TO:

25 INT. SECURITY CHECK. DAY. (STUDIO) 11 SECS

THE OUTER DOOR IS CLOSED. A GLASS SCREEN WHICH FILLS ONE OF THE SIDE WALLS GLOWS GREEN AND WE HEAR THE CLICK OF AN ELECTRIC CHECK.

CIA MAN (VO)
Would you turn around, Colonel?

STRAKER TURNS AROUND ONE FULL CIRCLE.

CUT TO:

26 INT. WAITING AREA. DAY. (STUDIO) 5 SECS

ONE CIA MAN NODS TO THE OTHER. STRAKER CHECKS OUT CLEAN FOR ELECTRONIC DEVICES.

THE SECOND CIA MAN PRESSES A CONTROL ON THE WALL.

CUT TO:

27 INT. CONFERENCE ROOM. DAY. (STUDIO) 270 SECS

THE INNER DOOR SLIDES OPEN AND STRAKER WALKS INTO THE CONFERENCE ROOM.

ENGLISH DELEGATE
Ah, Colonel Straker.

STRAKER
Gentlemen.

ENGLISH DELEGATE
Please sit down.

STRAKER
First I would like to apologise on behalf of General Henderson for his absence. As you probably know he is still recovering from injuries received in the car crash.

STRAKER SITS DOWN.

ENGLISH DELEGATE
Thank you, Colonel. No doubt you will make an excellent substitute.

ON ENGLISH DELEGATE

ENGLISH DELEGATE
I think the best way for us to proceed is on a question and answer basis.

HE LOOKS AROUND THE DELEGATES INVITING QUESTIONS.

GROUP SHOT

HE IS BASICALLY AGAINST THE PROJECT.

FRENCH DELEGATE
Colonel, as representative of our respective Governments we're being asked to approve the largest financial appropriation ever envisaged for an international project.

ON FRENCH DELEGATE

FRENCH DELEGATE
Two questions, is the whole project necessary, and if it is, are we getting value for money?

ON STRAKER

STRAKER
I believe the setting up of SHADO is not only necessary but vital. Every day we just sit around and talk about it the potential danger increases.

GROUP SHOT
STRAKER
As to your second question. I think this breakdown of expenditure might be helpful.

STRAKER PASSES ROUND THE PAPERS FROM HIS FOLDER TO THE DELEGATES. THEY STUDY THEM FOR A FEW MOMENTS.

GERMAN DELEGATE
A fleet of submarines... A base on the moon... satellites...

STRAKER
If I might point out, sir, we're confronted with alien spacecraft, possibly from another solar system.

THE FRENCH DELEGATE IS HAPPY TO SEE THE DOUBT IN THE GERMAN DELEGATE'S FACE.

FRENCH DELEGATE
Maybe the General and Colonel Straker have been reading too much science fiction.

HE SHAKES HIS HEAD AS HE LOOKS AT THE PAPERS.

ON STRAKER

STRAKER
The Earth is faced with a power threat from an extraterrestrial source. We've moved into an age where science fiction has become fact. We need to defend ourselves.

ON FRENCH DELEGATE

FRENCH DELEGATE
And how long would this... Defence Organisation take to setup.

GROUP SHOT

STRAKER
We guestimate seven to ten years.

ENGLISH DELEGATE
Ten years. But you tell us Colonel the danger is imminent.

STRAKER
That's true, sir. But the type of organisation we need can't be set up overnight. All I can say is any delay only increases the danger.

THE DELEGATES TAKE STRAKER'S POINT.

TWO SHOT

FRENCH DELEGATE AND STRAKER.

FRENCH DELEGATE
The estimate for security is astronomical.

STRAKER
It's a vital aspect.

THE FRENCH DELEGATE LOOKS AROUND HIS COLLEAGUES.

FRENCH DELEGATE
Everything seems vital.

ON STRAKER

AN EDGE BEGINNING TO DEVELOP BETWEEN HIM AND THE FRENCH DELEGATE.

GROUP SHOT

GERMAN DELEGATE
How would SHADO be organised regarding personnel?

STRAKER
On strictly military lines. We would try and recruit the best people available.

GERMAN DELEGATE
Internationally.

STRAKER
Yes.

ON FRENCH DELEGATE

FRENCH DELEGATE
And who would command this international... band of heroes?

TWO SHOT

US AND FRENCH DELEGATES

U.S. DELEGATE
My government has stipulated the Commander-in-Chief must be an American.

FRENCH DELEGATE
Yes, we know...

U.S. DELEGATE
As the nation being asked to dig a little deeper into its pocket...

THE FRENCH DELEGATE INTERRUPTS

FRENCH DELEGATE
Naturally. Naturally.

THEY GLARE AT EACH OTHER.

ON ENGLISH DELEGATE

ENGLISH DELEGATE
We asked Colonel Straker here to answer our questions. I suggest we let him do so.

ON STRAKER

STRAKER
Well, the Commander of SHADO will have to be a man of dedication, single-mindedness. A man who knows the enormous responsibility of the job and accepts it.

GROUP SHOT

WE SEE THE DELEGATES ARE IMPRESSED, AND LATER WILL FIND THAT BY THIS LITTLE SPEECH STRAKER INADVERTENTLY TALKED HIMSELF INTO A JOB.

STRAKER
I assumed it would be General Henderson. He would be my choice.

A PAUSE.

ENGLISH DELEGATE
Are there any further questions?

HE LOOKS AROUND THE DELEGATES. THERE ARE NO QUESTIONS.

ENGLISH DELEGATE
Thank you, Colonel Straker.

ON STRAKER

HE COLLECTS HIS PAPERS, PUTS THEM IN THE FILE AND STANDS

WIDER ANGLE

STRAKER WALKS TO THE DOOR

ON FRENCH DELEGATE

HE NARROWS HIS EYES AS HE WATCHES STRAKER

ANOTHER ANGLE

STRAKER TURNS BACK INTO THE ROOM

STRAKER
Monsieur Duval.

THE FRENCH DELEGATE REACTS.

STRAKER
I understand you have three daughters.

FRENCH DELEGATE
Yes.

STRAKER
I hope you never find yourself staring down at one of their mutilated bodies. I hope the next UFO incident isn't in your hometown.

ON FRENCH DELEGATE

LOOKING AT STRAKER

ON STRAKER

MATCHING HIS LOOK. HE TURNS AND PUTS THE FILE INTO A DOCUMENT DESTRUCT DEVICE.

ON ENGLISH DELEGATE

HE TAKES A LEAD FROM THE PHONE AND PLUGS IT INTO A SOCKET ON A BOX ON THE DESK. IT IS A SECURITY PRECAUTION. THE PHONE IS DISCONNECTED DURING THEIR DISCUSSIONS.

ENGLISH DELEGATE
(into phone)
Open the door, please.

ON STRAKER

HE TURNS TO FACE THE DELEGATES.

STRAKER
Thank you for your time.

THE DOOR OPENS. STRAKER EXITS.

ON DELEGATES

QUIET AND THOUGHTFUL. A LONG BEAT.

ENGLISH DELEGATE
Well, gentlemen?

28 INT. HOSPITAL. DAY. (STUDIO) 80 SECS

START CLOSE ON HENDERSON IN HIS WHEEL CHAIR AS BEFORE.

HENDERSON
It's been approved. Unanimously.

PULL BACK TO INCLUDE STRAKER. HE JUST NODS BUT THE RELIEF SHOWS ON HIS FACE.

HENDERSON
You did a great job, Ed.

STRAKER
I thought I'd screwed it up. I was only in there about ten minutes.

HENDERSON LOOKS AT STRAKER A BEAT, HE HAS SOMETHING ON HIS MIND.

HENDERSON
Well, all we have to do now is work 16 hours a day for the next ten years.

STRAKER
Sure.

ON HENDERSON

HENDERSON
There is, er, something else I have to tell you.

TWO SHOT

HENDERSON
They appointed the C in C.

STRAKER'S FIRST REACTION IS THAT IT'S HENDERSON, BUT HE SEES FROM HENDERSON'S FACE THAT THIS ISN'T SO.

STRAKER
Who...?

HENDERSON
You.

STRAKER
Me!

STRAKER IS STAGGERED AS HE LETS IT SINK IN.

ON HENDERSON

HENDERSON
Again it was unanimous, but it seems the French delegate Duval was particularly insistent.

ON STRAKER

THINKING HARD. A FEW BEATS, THEN HE REMEMBERS THAT HENDERSON WAS THE OBVIOUS CHOICE.

TWO SHOT

HE TURNS TO HENDERSON

STRAKER
Sir...

HENDERSON
Why didn't they choose me? Let's not kid ourselves, Colonel. What sort of shape am I in. What sort of shape will I be in, in ten years?

STRAKER
In a couple of months, you'll be up and about... as fit as ever.

ON HENDERSON

HE LOOKS AT STRAKER FOR A MOMENT.

HENDERSON
You can always refuse. But if you do it's got to be now. There'll be no turning back later.

ON STRAKER

A LONG BEAT.

STRAKER
Then the answer's no.

TWO SHOT

HENDERSON
The answer's yes. It's got to be. - You know that better than anyone.

29 INT. CAR. DAY. (STUDIO) 22 SECS

CLOSE ON STRAKER AS HE DRIVES. HE IS DEEP IN THOUGHT.

ANOTHER ANGLE

MARY SITS AT HIS SIDE. SHE SEES ED IS PREOCCUPIED AND ASKS THE QUESTION TO BREAK HIS MOOD MORE THAN ANYTHING ELSE.

MARY
Tired, Ed?

STRAKER
Huh... No.

A PAUSE

STRAKER
Hey, do you know something?
(a beat)
I love you.

MARY
Do you? How much?

STRAKER
Oh, not too much.

MARY SMILES AND SNUGGLES INTO HIS SHOULDER.

CUT TO:

30 EXT. HOUSE. DAY. (LOCATION) 5 SECS

IT COULD BE THE HOUSE USED IN A QUESTION OF PRIORITIES.

CUT TO:

31 INT. HOUSE. DAY. (STUDIO) 28 SECS

STRAKER, MARY AND AN ESTATE AGENT ARE IN THE LOUNGE. IT IS COMPLETELY EMPTY.

AGENT
This is a fine room. Plenty of scope.

MARY
Yes.

MARY WALKS AROUND, ALREADY SEEING IT FURNISHED.

TWO SHOT

THE AGENT AND STRAKER WHO IS TRYING TO GET HIS BEARING.

STRAKER
Let's see now, the master bedroom is right above us here.

AGENT
Yes, with a smaller room just to the left if you remember. That'd make a fine nursery.

STRAKER
Yes.

STRAKER GLANCES ACROSS AT MARY.

ON MARY

SHE RETURNS HIS LOOK.

WIDER ANGLE

STRAKER WANDERS OVER AGAINST A WALL TO SURVEY THE ROOM.

CUT TO:

32 INT. ROOM. DAY. (STUDIO) 50 SECS

CLOSE ON STRAKER. WE DO NOT REALISE THE SCENE CHANGE AS YET. HE LOOKS AROUND THE ROOM.

STRAKER
I like it.

PULL BACK TO SHOW THE ROOM IS NOW FULLY FURNISHED. A COUPLE OF MONTHS HAVE ELAPSED. MARY IS IN THE ROOM - A CHANGE OF DRESS.

SHE COMES OVER AND TAKES STRAKER BY THE HAND AND LEADS HIM TO THE SOFA. THEY SIT.

ANOTHER ANGLE

MARY CURLS HER LEGS UP AND SNUGGLES INTO ED.

MARY
The drapes will be coming tomorrow.

STRAKER
Great.

MARY
I've ordered a sort of non-colour. I hope you like them.

STRAKER CLOSES HIS EYES.

STRAKER
Sure.

A BEAT.
MARY
Oh, and the insurance Agent called twice. He's coming round tomorrow evening.

ON STRAKER

HE OPENS HIS EYES

STRAKER
I, er, have to work on tomorrow. I won't be home till around eleven.

TWO SHOT

MARY
But darling, he's coming at eight.

STRAKER
Then he'll just have to make it some other time.

MARY STRAIGHTENS UP ON THE SOFA, HER MOOD HARDENING.

MARY
I'll make some coffee.

SHE STANDS AND LEAVES.

ON STRAKER

KNOWING HE HAS PLAYED IT ALL WRONG.

CUT TO:

33 EXT. BUILDING. DAY. (STOCK) 5 SECS

THE BUILDING WE HAVE ESTABLISHED AS HOUSING THE ASTRO-PHYSICAL COMMISSION.

CUT TO:

34 INT. HENDERSON'S OFFICE. DAY. (STUDIO) 60 SECS

HENDERSON, NOW RECOVERED FROM HIS INJURIES, SITS AT THE DESK AND ANSWERS THE INTERCOM.

SECRETARY (VO)
Mr. Straker and Mr. Freeman, sir.

HENDERSON
Send them right in.

STRAKER AND FREEMAN COME IN.

HENDERSON
Well, gentlemen, nice to see you.

STRAKER
My first recruit, sir. Alec Freeman.

HENDERSON AND FREEMAN SHAKE HANDS.

HENDERSON
Glad to know you, Freeman. I've glanced through your record. Welcome to SHADO.

FREEMAN
Thank you, sir.

ON HENDERSON
HENDERSON
How do you like the office?

STRAKER (VO)
Great.

HENDERSON
I've been kicked upstairs to keep a fatherly eye on you, Colonel. I'll be holding the purse strings.

WIDER ANGLE

STRAKER DOESN'T REALISE HOW CLOSE HE IS TO THE TRUTH.

STRAKER
Sounds like that could be a lot of fun. How's the building programme coming along?

HENDERSON
Very well. In a couple of months, the studio may be worth a visit.

FREEMAN
From the plans, I'd say it's quite a construction job.

HENDERSON
Yes, it is. But I still think the main problem will be finding the men to man it.

ON FREEMAN

FREEMAN
We're working on it. Though some of them aren't exactly masculine.

CUT TO:

35 INT. TV STUDIO. NIGHT. (STUDIO) 77 SECS

START CLOSE ON NINA BARRY. SHE IS TAKING PART IN A TV PROGRAMME WITH WILLIAM LLOYD. FORD IS THE INTERVIEWER.

LLOYD
These are the photographs I took.

HE HANDS SOME SHOTS TO FORD.

FORD
I see, and you say the flying saucer hovered for about 30 minutes over your garden.

LLOYD
Yes, about that.

FORD
And yet no-one else in your neighbourhood saw it.

LLOYD
I can't speak for anyone else. Just the two of us.

ANOTHER ANGLE

TO SHOW FREEMAN AND STRAKER WATCHING THE INTERVIEW.

FORD
Ah yes... Your... acquaintance Mr. Carter. He isn't able to be with us tonight I understand.

LLOYD
No. He's, er, indisposed.

FORD
Yes, I'm sure.

ON NINA BARRY

FORD
Miss Barry, if I could turn to you for a moment. You are taking a post-graduate course in electronics at London University?

NINA
That's right.

WIDER ANGLE

FORD
And together with some of your colleagues, you have examined Mr. Lloyds alleged photographs of a UFO.

NINA
Yes, we have. I'm sorry to say this, but in our opinion, they're almost certainly all fake.

LLOYD SHAKES HIS HEAD - NO.

FORD
Mr. Lloyd obviously doesn't agree, but how would you go about faking this sort of evidence?

NINA
Well, there are several ways. One would be to use an electronically controlled model.

FORD
A model of a UFO?

NINA
Yes, controlled from the ground in the same way as you would a model aircraft.

ON FORD

HE TURNS TO LLOYD

FORD
And isn't it true, Mr. Lloyd, that your friend Mr. Carter runs a TV repair business?

LLOYD
All I can say is, they're not faked.

FORD
Yes, well, we'll just wish Mr. Carter a speedy recovery and let the viewers judge for themselves. Thank you, Miss Barry, Mr. Lloyd.

ON FREEMAN AND STRAKER

FORD (VO)
Well, that seems to be it for tonight. We'll be with you at the same time tomorrow.

STRAKER
Check the girl, Alec. I'll have a word with the interviewer.

ON STRAKER

HE MOVES FORWARD AND GOES UP TO FORD AS HE LEAVES THE SET.

STRAKER
Mr. Ford.

FORD
Yes.

STRAKER
My name's Straker.

FORD
Straker... Ah, yes, I remember. You were involved in what was rumoured to be a UFO incident about a year ago.

STRAKER
Are you interested in the subject?

FORD
Very. If I'd realised you were here, Mr. Straker, I would have asked you to join my programme.

STRAKER
Maybe I'm here to ask you to join my programme, Mr. Ford.

CUT TO:

36 EXT. HOUSE. NIGHT. (LOCATION) 5 SECS

TO ESTABLISH STRAKER'S HOUSE.

CUT TO:

37 INT. LOUNGE. NIGHT. (STUDIO) 57 SECS

MARY SITS IN THE LOUNGE READING. SHE REACTS NERVOUSLY AT A SOUND FROM OUTSIDE, THEN SETTLES DOWN AGAIN.

ON CLOCK

IT IS HALF PAST ONE

ON MARY

SHE TRIES TO READ BUT HER EYES FLICK UP TO THE CLOCK. SHE IS WORRIED, STRAKER ISN'T HOME YET.

SHE REACTS AS SHE HEARS A CAR COMING ALONG THE ROAD, WAITS IN ANTICIPATION, THEN STANDS UP AS SHE HEARS IT PULLING INTO THE DRIVE AND THE DOOR SLAM.

WIDER ANGLE

MARY WAITS PENT UP AS SHE HEARS STRAKER COME IN THE FRONT DOOR OF THE HOUSE.

ON DOOR TO LOUNGE

STRAKER COMES IN

STRAKER
Hello, darling.

HE MOVES FORWARD

TWO SHOT

STRAKER KISSES HER ON THE CHEEK AND NOTICES HER NON-REACTION.

STRAKER
Sorry, I didn't call, I, er, got tied up.

MARY
Do you know what time it is?

STRAKER CHECKS HIS WATCH.

STRAKER
Why didn't you go on up to bed?

MARY
Because occasionally - just occasionally - I'd like to see my husband. Maybe even talk to him.

STRAKER
I'm sorry, these last couple of weeks have been pretty hectic. It'll break soon.

MARY
Ed, this is your home. Our home. We're supposed to be trying to build something together.

STRAKER'S TONE IS "LET'S NOT START SOMETHING LIKE THIS AT THIS TIME OF NIGHT".

STRAKER
Oh, Mary.

MARY
No, Ed. How can you expect me to take this... work, work, work... till all hours of the day and night.

ON STRAKER

HE HARDENS A LITTLE

STRAKER
Because it happens to be necessary.

ON MARY

MARY
I suppose the next step will be you won't bother to come home at all.

ON STRAKER

STRAKER
Maybe that isn't such a bad idea. Maybe then when I did show up, I'd get some sort of reaction from my loving wife.

ON MARY

SHE IS HURT

TWO SHOT

STRAKER SEES HE HAS GONE A LITTLE TOO FAR.

STRAKER
I'm sorry. I didn't mean that.

HE TAKES HER SHOULDERS

STRAKER
Look, I need a break - we both need a break.
(a beat)
Listen, we'll go out... next week sometime... paint the town. What do you say?

MARY NODS YES AND SNUGGLES CLOSE

STRAKER
Confetti check?

ON MARY

SHE SMILES.

IT IS THEIR WAY OF BRINGING BACK WARM MEMORIES.

MARY
A-OK.

ON STRAKER

HE IS NOT SMILING. HE FEELS THE PRESSURE BUILDING UP AND KNOWS IT CAN ONLY GET WORSE.

CUT TO:

38 EXT. STUDIO. DAY. (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

39 INT. MISS EALAND'S OFFICE. DAY. (STUDIO) 38 SECS

EMPTY. A CRATE STANDS IN ONE CORNER. STRAKER AND FREEMAN COME IN.

THEY GO TO THE WINDOW AND LOOKOUT.

STRAKER
See that block they're building over there?

POV SHOT

FROM STRAKER'S AND FREEMAN'S POV WE SEE A BLOCK OF FLATS.

STRAKER (VO)
It's a cover. When they excavated the complex they ran millions of cubic feet of earth...

ON STRAKER

HE POINTS DOWN

STRAKER
...from below, back over there.

FREEMAN
Security. Even at the cost of a building like that.

STRAKER
It'll be used. When it's completed a Government department are moving in.

STRAKER GOES TO A JUNCTION BOX ON THE FLOOR WITH THE LEADS JUST TRAILING INTO THE WALL, AND PRESSES A BUTTON.

THE DOORS TO THE INNER OFFICE OPEN.

CUT TO:

40 INT. INNER OFFICE. DAY. (STUDIO) 39 SECS

AGAIN IT IS EMPTY EXCEPT FOR THE DESK. VARIOUS WIRES TRAIL AROUND THE PLACE.

STRAKER GOES TO THE DESK AND PRESSES A BUTTON. THE ROOM STARTS TO DESCEND.

FREEMAN
I hear we're going to install a voice print identification mechanism.

STRAKER
Yeah. I tried the prototype. It identified me as a female technician from Dublin. They said it was only a teething problem.

FREEMAN
They could be right. Come to think of it, you do look like one.

STRAKER
Hmm?

STRAKER REALISES AS HE SAYS IT.

STRAKER & FREEMAN
A female technician from Dublin.

STRAKER
Yeah. I know.

ON FREEMAN

FREEMAN

Nice to see you smile again, Ed.

THE DOORS OPEN. FREEMAN MOVES FORWARD.

ON STRAKER

A MOMENT AS HE REALISES THE TRUTH OF FREEMAN'S REMARK. HE CAN'T REMEMBER THE LAST TIME HE SMILED. HE MOVES FORWARD.

CUT TO:

41 INT. CORRIDOR. UNDERGROUND. (STUDIO) 5 SECS

STRAKER AND FREEMAN WALK ALONG THE CORRIDOR. FREEMAN IS A LITTLE AHEAD, CHECKING ROUND WITH HIS EYES. STRAKER STILL SEEMS PREOCCUPIED WITH HIS THOUGHTS.

CUT TO:

42 INT. UNDERGROUND CONTROL ROOM. (STUDIO) 31 SECS

STRAKER AND FREEMAN COME INTO THE CONTROL ROOM. THE COMPLEX IS STRUCTURALLY COMPLETE BUT THE ELECTRONICS IS IN THE PROCESS OF BEING INSTALLED. CONDUITS LIE AROUND, HUNDREDS OF WIRES SPRAYING FROM THE ENDS WAITING TO BE CONNECTED UP. THE LIGHTING IS LOW KEY. MASTERS AND MAXWELL WORK AT INSTALLING THE EQUIPMENT.

MASTERS
Hello, sir.

MAXWELL
Hello, sir.

THE GROUP EXCHANGE HELLO'S.

STRAKER
How's it coming along?

MAXWELL
Slow; but we'11 get there.

MASTERS
We're a couple of days behind schedule but we hope to make it up later.

STRAKER
Good. That's what I like to hear.

ON FREEMAN

FREEMAN POINTS TOWARDS STRAKER'S INNER OFFICE.

FREEMAN
Is that your office?

ON STRAKER

STRAKER
Yes. Come in, I'll show you around.

WIDER ANGLE

STRAKER AND FREEMAN WALK TOWARDS STRAKER'S UNDERGROUND OFFICE. MASTERS AND MAXWELL RETURN TO THEIR WORK.

CUT TO:

43 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 115 Secs

THE DESK IS IN PIECES IN ONE CORNER WAITING TO BE ASSEMBLED. AGAIN THE LIGHTING IS LOW KEY.

STRAKER AND FREEMAN COME IN.

ON FREEMAN

FREEMAN LOOKS AROUND.

FREEMAN
Well, it's all beginning to take shape.

ON STRAKER

STRAKER
Yes. SHADO HQ. The nerve centre of the whole organisation.
(a beat)
You know sometimes setting all this up seems like fighting a ten-armed monster, the delays, the problems, security, personnel, a hundred holdups, a thousand details.

TWO SHOT

FREEMAN
What drives you on... fighting the monster?

STRAKER
I don't know, something... inside me I guess.

FREEMAN
It's called dedication.

STRAKER
Pig headedness would be nearer.

STRAKER MOVES OVER AND CHECKS A LIGHT, IT DOESN'T WORK.

STRAKER
I told Masters to fix that.

ON FREEMAN

HE CONSIDERS A LONG MOMENT.

FREEMAN
How's Mary?

TWO SHOT

STRAKER
(off hand)
Mary... fine... she's fine.

ON STRAKER

HE DRAWS A DEEP BREATH

STRAKER
(very serious)
No, she isn't, she's problem number one.

TWO SHOT

STRAKER
I'm going to level with you, Alec. I think I ought to tell her.

FREEMAN
You can't.

STRAKER
Just enough for her to understand.

FREEMAN
It's impossible.

STRAKER
She's got to know, Alec. She's got to realise how important what I'm doing is. How much of my time it takes. How else can I expect her to understand?

FREEMAN
It's out of the question and you know it.

ON FREEMAN

FREEMAN
Listen, just remember what happened to the driver of that Rolls-Royce.

TWO SHOT

STRAKER
What do you mean?

STRAKER IS BEGINNING TO REALISE WHAT HE MEANS.

STRAKER
I thought he dies of injuries received in the crash.

FREEMAN
Let's say he was helped. I thought you knew.

STRAKER
No I didn't. Who told you this?

FREEMAN
Henderson.
(a beat)
I don't like it any more than you do but you know our security boys, they make the CIA look like Sunday School teachers.

ON FREEMAN

FREEMAN
The security of all this, billions of dollars, it outweighs any individual. You, me, any of us.

TWO SHOT

FREEMAN
Don't tell Mary a thing. It's the safest way - the only way.

CUT TO:

44 EXT. CAR. DAY. (LOCATION) 5 SECS

STRAKER'S CAR ALONG THE ROAD.

CUT TO:

45 INT. CAR. DAY. (STUDIO) 5 SECS

STRAKER DRIVES, DEEP IN THOUGHT.

CUT TO:

46 EXT. HOUSE. DAY. (LOCATION) 10 SECS

STRAKER'S CAR PULLS UP AND STOPS OUTSIDE THE HOUSE. STRAKER GETS OUT AND GOES TO THE FRONT DOOR, OPENS IT AND GOES INSIDE.

CUT TO:

47 INT. HALL. DAY. (STUDIO) 10 SECS

MARY IS ON THE LAST FEW STAIRS AS STRAKER COMES IN THE FRONT DOOR. SHE HURRIES TO MEET HIM.

STRAKER
Hi.

AS SHE KISSES HIM -

MARY
Hello, darling.

SHE TAKES HIS HAND AND LEADS HIM TO THE LOUNGE.

CUT TO:

48 INT. LOUNGE. DAY. (STUDIO) 38 SECS

MARY LEADS STRAKER IN. A TABLE HAS BEEN SET FOR AN INTIMATE DINNER FOR TWO. STRAKER WONDERS WHAT IT IS ALL ABOUT.

MARY BREAKS AWAY AND POURS TWO DRINKS.

STRAKER
Mary, you know I don't...

HE STOPS SHORT AS THE PENNY BEGINS TO DROP.

MARY
Just this once. It's an occasion.

ON STRAKER

HE GOES TO HER.

STRAKER
You mean...

ON MARY

SHE TURNS AND JUST GIVES A HINT OF A SMILE, AND A LITTLE NOD.

TWO SHOT

STRAKER TAKES HER IN HIS ARMS AND KISSES HER.

ON STRAKER

EYES CLOSED, HE HOLDS MARY CLOSE.

TWO SHOT

STRAKER
I must make a phone call.

MARY
You're not going to work this evening?

STRAKER
To hell with work. I'm going to tell the decorator to break out his blue paint.

MARY
Pink.

ON STRAKER

STRAKER
Blue.

THEY KISS AGAIN.

49 EXT. STUDIO. NIGHT. (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

50 INT. SHADO CONTROL. UNDERGROUND. (STUDIO) 8 SECS

THE INSTALLATIONS ARE COMPLETE. BUT THERE ARE NO OPERATIONS THERE AS YET. FREEMAN, MASTERS AND MAXWELL ARE TESTING THE ELECTRONICS.

CUT TO:

51 INT. STRAKER'S OFFICE. UNDERGROUND. (STUDIO). 30 SECS

STRAKER IS ON THE PHONE TO HENDERSON. IT IS THE END OF A LONG DAY.

STRAKER
We're working night and day and I don't see why some fool sub-contractor shouldn't do the same... A week... I'll give them three days... Right... Goodbye.

MAXWELL COMES IN THE DOOR.

STRAKER
Well...

MAXWELL
We don't seem to be able to find the fault, sir.

STRAKER
Well keep checking.

MAXWELL REACTS, HE WAS HOPING STRAKER WOULD HAVE SAID LEAVE IT TILL MORNING.

STRAKER
And don't look at me like that. You're not the only one with a home to go to.

MAXWELL GOES OUT.

ON STRAKER

HE LOOKS AT THE PHONE - HE OUGHT TO RING MARY.

CUT TO:

52 INT. HALL. NIGHT. (STUDIO) 10 SECS

START ON THE PHONE, PULL BACK TO SHOW MARY LOOKING AT IT. SHE IS 6 MONTHS PREGNANT. SHE WALKS ON INTO THE LOUNGE CHECKING HER WATCH. STRAKER IS LATE AGAIN.

CUT TO:

53 INT. STRAKER'S OFFICE. UNDERGROUND. (STUDIO) 11 SECS

STRAKER IS JUST ABOUT TO LIFT THE PHONE WHEN FREEMAN COMES IN.

FREEMAN
It's a wiring error. We can't get at it.

STRAKER
Do I have to do everything around here, you'll have to take off the outer panel.

CUT TO:

54 INT. LOUNGE. NIGHT (STUDIO) 7 SECS.

MARY SITS IN THE LOUNGE. THE PHONE RINGS. SHE GETS UP AND GOES INTO THE HALL.

CUT TO:

55 INT. HALL. NIGHT (STUDIO) 44 SECS

MARY PICKS UP THE PHONE EXPECTING IT TO BE STRAKER.

MARY
021-4834... Oh, it's you, Mother. How are you? ... I'm fine... Yes, I saw him today... Yes, he said it should be the first week in April... Hmm, just another two months... of course...
(hesitant)
Ed, no he's working late... No... no mother... don't be silly, another woman... that's a ridiculous idea, now I don't want to hear you talk like that... Yes... Yes, alright... Look, Mother I have to go now, I'll ring you tomorrow... God bless... Bye.

MARY PUTS DOWN THE PHONE, SHE IS NEAR TO TEARS.

CUT TO:

56 INT. SHADO CONTROL. UNDERGROUND. (STUDIO) 45 SECS

STRAKER, FREEMAN, MAXWELL AND MASTERS HAVE JUST FINISHED FINDING AND REPAIRING THE FAULT ON THE ELECTRONIC PANEL.

STRAKER
Alright, let's try it.

MASTERS WALKS OVER TO A CONSOLE AND ACTIVATES A CONTROL.

THE COMPUTER FILM MECHANISM ON WHICH THEY HAVE BEEN WORKING STARTS TO SPIN.

MAXWELL
Seems to be fine.

STRAKER
Yes... Well, why don't we call it a day?

MAXWELL WALKS AWAY

ON FREEMAN

FREEMAN
It's pretty late, If you like you can come back to my place. It'll save you the drive.

TWO SHOT

STRAKER IS VERY TIRED.

STRAKER
Maybe.

WIDER ANGLE

MAXWELL AND MASTERS ARE LEAVING. THE GROUP EXCHANGE GOODNIGHTS.

STRAKER
Goodnight boys and thanks.

TWO SHOT

FREEMAN
Come on. I'll phone Mary and explain first thing in the morning.

STRAKER SUDDENLY REMEMBERS.

STRAKER
Huh, I promised to phone her three hours ago. I'm going home.

CUT TO:

57 INT. LOUNGE. NIGHT. (STUDIO) 123 SECS

START CLOSE ON MARY ASLEEP ON THE SOFA, PULL BACK TO SHOW STRAKER STANDING LOOKING DOWN AT HER.

ON MARY

SOME INSTINCT WAKES HER UP.

MARY
Ed.

TWO SHOT

STRAKER KISSES HER GENTLY ON THE FOREHEAD. MARY GATHERS HER SENSES. THEY SPEAK IN VERY LOW VOICES.

MARY
What time is it?

STRAKER
Late.

MARY LOOKS AT THE CLOCK.

MARY
It's three o'clock.

STRAKER
Why aren't you in bed?

MARY
I was waiting for you.

ON MARY

NOW WAKING UP FULLY, SHE SITS UP.

TWO SHOT

STRAKER
Come on.

MARY
I wanted to ask you a question.

ON MARY

MARY
Is there... someone else?

TWO SHOT

STRAKER
Someone else?

MARY
Another woman.

ON STRAKER

HE SWITCHES TO NORMAL VOICE, THE CONTRAST MAKES HIM SOUND A LITTLE HARD.

STRAKER
What a crazy idea. Come on, let's go to bed... You need to rest.

TWO SHOT

MARY TOO SWITCHES TO NORMAL VOICE

MARY
Why is it a crazy idea? If it's so crazy, tell me where you've been.

STRAKER
Come on...

MARY HARDENS A LITTLE

MARY
Where have you been?

STRAKER
You know I can't talk about it.

MARY
Break the rule and tell me. Just for once.

STRAKER DOES'NT ANSWER. HE CANNOT ANSWER.

MARY
I'm your wife... I want to know.

STRAKER
And I can't tell you. Now just... just calm down and come to
bed.

MARY MAKES AN ISSUE OF IT. AS STRAKER TRIES TO TAKE HER ARM SHE PULLS AWAY.

MARY
No Ed... I've a right to know.

STRAKER
Now stop this.

MARY
What's more important to you... Me, or whatever you do until three o'clock in the morning?

ON STRAKER

HE LOOKS A MARY A LONG MOMENT.

STRAKER
(gently)
I'm going up.

HE HOLDS OUT HIS HAND TO HER

TWO SHOT

SHE LOOKS AT STRAKER THEN TURNS AWAY.

ON MARY SHE BECOMES VERY CALM. VERY SINCERE

MARY
I love you... I'm carrying your child... I can feel move inside me. When he's born... when he's old enough to realise... will he have a father or a man he hardly knows... someone he sees now and then for a few hours?

TWO SHOT

MARY LOOKS UP AT STRAKER APPEALING FOR AN ANSWER

STRAKER
(helplessly)
Mary...

MARY
I hope you still have a choice, Ed. Maybe you should decide before it's too late.

ON STRAKER

CUT DOWN THE MIDDLE

CUT TO:

58 EXT STUDIO LOT DAY (LOCATION) 49 SECS

SOMEWHERE OUT ON THE LOT. STRAKER AND FREEMAN WALK ALONG.

IT IS WINTER, COLD, THE AIR IS CLEAR. THEY WEAR HEAVY COATS.

FREEMAN
Well, the control complex is complete, fully operational. All we need now are the technicians.

STRAKER
How are the first batch of recruits making out?

FREEMAN
Well, security checks, aptitude tests, six months of training and further tests, it's a pretty tough schedule. The original fifty have been whittled down to eight.

STRAKER
Eight.

FREEMAN
Yes. The second batch seem to be doing a little better.

STRAKER
When can we expect the first group to finish training?

FREEMAN
In about two months. It'll be spring; a good time to start.

ON STRAKER

STRAKER
(half to himself)
Spring. My son will be born in the spring.

ON FREEMAN

FREEMAN
Your son... How do you know it...

HE REACTS

WIDER ANGLE

STRAKER HAS WALKED OFF.

CUT TO:

59 LIBRARY SHOT 10 SECS

TO ESTABLISH SPRING. DAFFODILS, NEWBORN LAMBS ETC. MAYBE A COUPLE OF SHOTS.

CUT TO:

60 EXT. STREET. NIGHT. (LOCATION) 15 SECS

NINA WAITS ON THE CORNER OF THE STREET. ATTRACTIVELY DRESSED IN A MINI SKIRT ETC.

ANOTHER ANGLE

STRAKER'S CAR PULLS UP AND NINA GETS IN. WE HOLD THE SHOT AND SEE ANOTHER CAR FOLLOWING STRAKER'S.

CUT TO:

61 INT. STRAKER'S CAR. NIGHT 5 SECS

NINA AND STRAKER.

CUT TO:

62 EXT. STREET. NIGHT. (LOCATION) 6 SECS

THE TWO CARS UP AND PAST.

CUT TO:

63 INT. SECOND CAR. NIGHT (STUDIO) 7 SECS

A MAN CHECKS HIS WATCH AND WRITES IN A NOTEBOOK AS HE DRIVES.

CUT TO:

64 EXT. BLOCK OF FLATS. NIGHT. (LOCATION) 25 SECS

STRAKER'S CAR PULLS UP OUTSIDE.

ANOTHER ANGLE

STRAKER AND NINA GET OUT OF THE CAR AND WALK TOWARDS THE FLATS.

ON DOORWAY

STRAKER AND NINA GO INTO THE BLOCK. WE SEE A CLOCK ABOVE THE DOOR.

ANOTHER ANGLE

THE MAN FROM THE CAR LOWERS A CAMERA.

ZOOM IN ON HIS SATISFIED EXPRESSION.

65 EXT. BLOCK OF FLATS. (NIGHT) (LOCATION) 5 SECS

TO ESTABLISH.

CUT TO:

66 INT. NINA'S APARTMENT. NIGHT. (STUDIO) 54 SECS

CLOSE ON DOOR.

STRAKER AND NINA COME IN. NINA TAKES OFF HER COAT AND SMILES.

WIDER ANGLE

WE NOW SEE FREEMAN, FORD AND TWO OR THREE OTHER PEOPLE IN THE FLAT INCLUDING ANOTHER GIRL.

NINA AND STRAKER JOIN THE GROUP, WHO EXCHANGE HAND SIGNAL HELLOS BUT DO NOT SPEAK.

ON FREEMAN

HE MOTIONS TO FORD TO CHECK THE ROOM

ANOTHER ANGLE

FORD TURNS ON A BOX WHICH IS BASICALLY A RADIO AND CHECKS THE ROOM FOR BUGGING DEVICES.

FORD
We're clean.

ON STRAKER

STRAKER
Well, this will be the last time we will meet here like this. As you know already, you have all been accepted into Shado. I've worked out a list of postings which I will give you later.

WIDER ANGLE

STRAKER
But first I'd like to thank Nina for letting us use her apartment for these little get-togethers.

NINA
It's been a pleasure, sir.

STRAKER
Well, it's been a hard slog, but we've made it... We're ready... I know how hard you've worked... but I think we can assume the worst is over.

CUT TO:

67 EXT. CAVE. NIGHT. (LOCATION) 5 SECS

STRAKER'S CAR UP AND PAST. HE IS ON THE WAY HOME.

CUT TO:

68 INT. CAR. NIGHT. (STUDIO) 6 SECS

PAN DOWN FROM STRAKER TO A BUNCH OF FLOWERS ON THE SEAT BESIDE HIM. HE SINGS TO HIMSELF, THE UNDERGROUND HQ IS COMPLETE, THE FIRST OPERATIVES ARE ABOUT TO MOVE IN, FOR THE FIRST TIME IN MONTHS THE PRESSURE IS OFF.

CUT TO:

69 INT. HALL. NIGHT. (STUDIO) 176 SECS

STRAKER OPENS THE FRONT DOOR AND COMES IN HOLDING THE BUNCH OF FLOWERS.

HE REACTS AS HE SEES A LETTER, HE PICKS IT UP.

ON STRAKER

STARING AT THE LETTER

ON LETTER

IT IS ADDRESSED SIMPLY "ED"

ON STRAKER

HE PUTS DOWN THE FLOWERS, GOES TO OPEN THE LETTER BUT STOPS AND TURNS TO A SOUND FROM THE STAIRS.

WIDER ANGLE

MARY ON THE STAIRS, SHE STANDS QUITE STILL, HOLDING A CASE.

STRAKER
Mary.

MARY DOESN'T ANSWER.

STRAKER
What are you doing?

STRAKER CROSSES AND CLIMBS A FEW STAIRS TO STAND FACING HER.

MARY
I'm leaving.

STRAKER
Leaving? Here - you shouldn't be carrying that.

HE TAKES THE CASE FROM HER HAND AND PUTS IT ON THE STAIR BESIDE HER.

MARY
I'm leaving you, Ed.
(a beat)
I've explained everything in the letter.

SHE GOES TO MOVE PAST HIM.

STRAKER
Wait a minute. Whatever's happened... I want to hear it from you.

MARY
I know, don't you understand. I know everything.

ON STRAKER

FOR A HORRIBLE MOMENT HE THINKS SHE MEANS SHE KNOWS ABOUT SHADO.

STRAKER
Tell me.

MARY DOESN'T ANSWER.

STRAKER
(hard)
Tell me what you know.

TWO SHOT

MARY
My mother had you followed.

STRAKER
Go on.

MARY
You were followed to the flat with the girl.

STRAKER IS RELIEVED.

STRAKER
Is that it?

HE GOES TO TAKE HER SHOULDERS.

MARY
Don't touch me, please.

STRAKER
Mary... Darling, I can explain.

MARY
Don't... it's dirty enough... don't lie.

STRAKER
Mary...

MARY
The man was here tonight... he even had a photograph with the time... everything.

SHE IS NEAR TO BREAKING.

STRAKER
Mary - please let me explain.

MARY
No, I don't want to hear.

SHE COVERS HER EARS.

STRAKER
Listen, will you just let me talk to you.

WE HEAR A CAR PULL UP OUTSIDE.

MARY
Please give me my case.

STRAKER IS SUDDENLY ANGRY, HE IS INNOCENT; HE KNOWS IT AND MARY WON'T LET HIM EXPLAIN.

STRAKER
No, you're not going anywhere.
(relenting)
Mary...

THE DOORBELL RINGS.

MARY
It's my father. I just can't stand it, I just can't stand it.

STRAKER
Alright, I'll tell you everything. Just... just try and understand what I'm going to say.

THE BELL RINGS AGAIN.

MARY PUTS HER HANDS TO HER HEAD AND STARTS TO GIVE. LITTLE LOW MOANS.

MARY
Let me go...

STRAKER TURNS TO THE DOOR, THEN BACK TO MARY NOT KNOWING WHAT TO DO.

STRAKER
(loud)
Will you listen to me? Will you just stop and listen?

MARY SCREAMS LOUD.

STRAKER
For God sakes.

THE BELL BECOMES PERSISTENT, AN ALMOST CONTINUOUS RING.

MARY SCREAMS AGAIN. STRAKER SLAPS HER FACE. THE SCREAM STOPS.

MARY IS SUDDENLY CALM, SHE STARES AT STRAKER. THEN SHE MAKES A QUICK SORT OF DIVE TO GET PAST STRAKER DOWN THE STAIRS.

SHE TRIPS AND FALLS OVER THE CASE ON THE STAIR.

ON STRAKER

HORRIFIED.

ON MARY

CRUMPLED AT THE FOOT OF THE STAIRS.

TWO SHOT

STRAKER BENDS OVER HER. HER EYES ARE CLOSED.

STRAKER
Oh my God.

HE MOVES TO THE TELEPHONE.

ANOTHER ANGLE

STRAKER TURNS AS

FATHER (VO)
(shouting)
What's going on in there? Open this door!

HE OPENS THE FRONT DOOR, THEN GOES STRAIGHT BACK TO THE PHONE AND STARTS TO DIAL.

THE FATHER COMES IN, LOOKS AROUND, SEES MARY AND MOVES TOWARDS HER.

STRAKER
Don't touch her.

ON STRAKER

THE PHONE IS ANSWERED

VOICE OVER
What emergency service do you require?

STRAKER
Ambulance, hurry.

CUT TO:

70 EXT. ROAD. NIGHT. (STOCK) 5 SECS

AN AMBULANCE, BELL RINGING, UP AND PAST, MOVING FAST.

71 INT. AMBULANCE. NIGHT. (STUDIO) 22 SECS

START CLOSE ON MARY, EYES CLOSED, BEADS OF SWEAT STANDING OUT ON THE PALLOR OF HER FACE. PULL BACK TO SHOW STRAKER, MARY'S FATHER AND THE ATTENDANT IN THE BACK OF THE AMBULANCE.

ON FATHER

HE LOOKS AT STRAKER WITH ACCUSING EYES.

ON STRAKER

HE TURNS TO MARY, RUNS HIS FINGERS TENDERLY OVER HER FACE.

STRAKER
She's cold. She feels so cold.

WIDER ANGLE

THE ATTENDANT LEANS CLOSE TO MARY. HE REACTS, TAKES AN EMERGENCY OXYGEN SUPPLY AND PUTS THE MASK OVER MARY'S MOUTH AND ADJUSTS THE GAS.

CUT TO:

72 EXT. HOSPITAL. NIGHT. (LOCATION) 6 SECS

THE AMBULANCE ENTERS THE HOSPITAL.

CUT TO:

73 EXT. RECEPTION AREA. (NIGHT) (LOCATION) 17 SECS.

AS THE AMBULANCE PULLS UP IN FRONT OF A RECEPTION AREA, AN ORDERLY RUNS OUT WITH A TROLLEY.

FAST SKILLED HANDS LIFT MARY ON THE STRETCHER FROM THE BACK OF THE AMBULANCE ONTO THE TROLLEY.

STRAKER WATCHES, STAYING AS CLOSE AS HE CAN TO HIS WIFE AS SHE IS HURRIED INTO RECEPTION.

CUT TO:

74 INT. HOSPITAL. NIGHT. (STUDIO) 20 SECS

A DOCTOR MEETS THE GROUP. THE QUICK EXPERIENCED EYE CHECKS MARY. HE INDICATES A DOOR, THE TROLLEY IS PUSHED TOWARDS IT.

THE DOCTOR GLANCES AT STRAKER, THEN FOLLOWS THE TROLLEY.

ON STRAKER

HIS FACE IN ANGUISH.

WIDER ANGLE

MARY'S FATHER WALKS SLOWLY OVER AND SITS ON A CHAIR AGAINST THE WALL. STRAKER STANDS MOTIONLESS IN THE MIDDLE OF THE ROOM. A LONELY FIGURE.

CUT TO:

75 EXT. RECEPTION. NIGHT. (LOCATION) 12 SECS

THE AMBULANCE DRIVER CLOSES THE BACK DOORS OF THE AMBULANCE THEN WALKS SLOWLY TO THE DRIVING SEAT AND GETS IN.

THE AMBULANCE MOVES QUIETLY AWAY, FOR THE DRIVER THE PANIC IS OVER.

CUT TO:

76 INT. HOSPITAL. NIGHT. (STUDIO) 70 SECS

STRAKER TURNS AS THE DOCTOR COMES OUT OF THE DOORS. MARY'S FATHER STANDS UP.

DOCTOR
Er, your wife has an internal haemorrhage. They're taking her into the theatre now, I'm going to perform a Caesarian section.

THE DOCTOR TURNS TO WALK AWAY.

ON STRAKER

STRAKER
Doctor, if there's any complication - I mean if it's a choice between Mary and...

HE TRAILS OFF.

TWO SHOT

STRAKER AND THE DOCTOR

DOCTOR
I understand.

THE DOCTOR WALKS AWAY

ON WINDOW

IT IS RAINING. PULL BACK TO SHOW STRAKER WATCHING THE RAIN RUN DOWN THE PANE.

WIDER ANGLE

A NURSE COMES IN. STRAKER TURNS TO HER, SHE SMILES.

NURSE
It's a boy.

ON STRAKER

A PAUSE.

STRAKER
How's my wife?

WIDER ANGLE

NURSE
The doctor's just coming.

STRAKER LOOKS AT MARY'S FATHER, A STRANGE MOMENT, NEITHER MAN MAKES THE FIRST MOVE, THOUGH THEY BOTH FEEL THEY WANT TO.

THE DOCTOR COMES IN.

STRAKER
How is she, doctor?

DOCTOR
As well as can be expected.

STRAKER
She'll be alright?

DOCTOR
Yes.

STRAKER
When can I see her?

DOCTOR
Well, when she wakes up. But only for a few minutes.

STRAKER
How's the baby?

DOCTOR
He's fine.

CUT TO:

77 INT. INTENSIVE CARE UNIT. (NIGHT) (STUDIO) 18 SECS

WE ARE CLOSE ON STRAKER AND FOR THE MOMENT DO NOT REALISE WE HAVE CUT.

STRAKER SMILES, A LITTLE TIGHT AT FIRST, BUT SOON RELAXING.

PULL BACK TO SHOW STRAKER IS LOOKING THROUGH A PORT INTO THE INFANT INTENSIVE CARE UNIT.

POV SHOT

FROM STRAKER'S POV THROUGH THE PORT WE SEE HIS NEW BORN SON.

ON STRAKER

HE GIVES A LITTLE, SLIGHTLY EMBARRASSED WAVE THROUGH THE GLASS.

CUT TO:

78 INT. HOSPITAL ROOM DAY. (STUDIO) 55 SECS

START CLOSE ON MARY PEACEFULLY ASLEEP, THEN HER EYES SLOWLY OPEN BUT CLOSE AGAIN, A FEW MOMENTS THEN THEY RE-OPEN.

POV SHOT

FROM MARY'S POV, THE BLURRED IMAGE OF A MAN STANDING OVER HER.

ON MARY

MARY
Ed.

FATHER (VO)
It's me my dear. You've got a little boy.

POV SHOT

FROM MARY'S POV THE FACE OF HER FATHER COMES INTO FOCUS.

ANOTHER ANGLE

THE FATHER IS ALONE IN THE ROOM

MARY
Hello.

FATHER
How do you feel?

MARY
Fine... Where's Ed?

FATHER
(slow)
Ed said he had to go. He said he couldn't tell me why.

A NURSE COMES IN.

NURSE
I'm afraid you'll have to leave now.

FATHER
I have to go. Goodbye, my dear. Mother and I will come and see you tomorrow.

ON MARY

WE HEAR THE DOOR CLOSE. SHE IS ALONE. SLOWLY HER EYES FILL WITH TEARS.

CUT TO:

79 EXT. CAR. NIGHT. (LOCATION) 5 SECS

UP AND PAST.

CUT TO:

80 INT. CAR. NIGHT. (STUDIO) 17 SECS

FREEMAN AND STRAKER SIT IN THE CHAUFFEUR DRIVEN CAR.

FREEMAN
I'm sorry, Ed. You know I wouldn't have done this if it hadn't been absolutely necessary.

ON FREEMAN

HE LOOKS AT STRAKER A MOMENT THEN OFFERS HIM A CIGAR.

FREEMAN
Anyway... Congratulations.

ON STRAKER

HE TAKES THE CIGAR. FREEMAN'S HAND OFFERS THE LIGHT.

CUT TO:

81 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 7 SECS

STRAKER PUFFS ON THE CIGAR, THE FLASHBACK HAS ONLY TAKEN A MOMENT. HE LOOKS AT FREEMAN, THEN STALKS OUT OF THE OFFICE.

CUT TO:

82 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 42 SECS

STRAKER STRIDES OUT INTO THE CONTROL ROOM.

STRAKER
There's too many cigars in here. Turn on the fans, get rid of some of the smoke.

STRAKER WALKS OVER TO THE OPERATIVE WHO GAVE OUT CIGARS.

TWO SHOT

THE OPERATIVE WAITS, EXPECTING A BROADSIDE.

STRAKER
Grey.

OPERATIVE
Yes, sir.

STRAKER
Take a week's furlough. Starting now.

OPERATIVE
Sir?

STRAKER
That's an order.

OPERATIVE
Right, sir.

STRAKER
How's your wife?

OPERATIVE
She's fine, thank you, sir.

STRAKER
Good. Boy or girl?

OPERATIVE
Twins.

STRAKER
Twins, eh. Get out of here.

OPERATIVE
Yes, sir.

WIDER ANGLE THE OPERATIVES ARE STILL TURNED TO LOOK AT STRAKER.

STRAKER
And the rest of you, let's do a little work while we celebrate, shall we?

STRAKER PUFFS DEEPLY ON HIS CIGAR, AND THINKS OF ANOTHER CIGAR HE ONCE SMOKED.